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When it was first published in 1972, Hubert Dreyfus's manifesto on the inherent inability of disembodied machines to mimic higher mental functions caused an uproar in the artificial intelligence community. The world has changed since then. Today it is clear that "good old-fashioned AI," based on the idea of using symbolic representations to produce general intelligence, is in decline (although several believers still pursue its pot of gold), and the focus of the Al community has shifted to more complex models of the mind. It has also become more common for AI researchers to seek out and study philosophy. For this edition of his now classic book, Dreyfus has added a lengthy new introduction outlining these changes and assessing the paradigms of connectionism and neural networks that have transformed the field.At a time when researchers were proposing grand plans for general problem solvers and automatic translation machines, Dreyfus predicted that they would fail because their conception of mental functioning was naive, and he suggested that they would do well to acquaint themselves with modern philosophical approaches to human beings. What Computers Can't Do was widely attacked but quietly studied. Dreyfus's arguments are still provocative and focus our attention once again on what it is that makes human beings unique.

This groundbreaking collection of thirteen original essays analyzes connections between film and two highly influential twentieth-century movements.

In a daring revisionist history of modern architecture, Mark Wigley opens up a new understanding of the historical avant-garde. He explores the most obvious, but least discussed, feature of modern architecture: white walls. Although the white wall exemplifies the stripping away of the decorative masquerade costumes worn by nineteenth-century buildings, Wigley argues that modern buildings are not naked. The white wall is itself a form of clothing—the newly athletic body of the building, like that of its occupants, wears a new kind of garment and these garments are meant to match. Not only did almost all modern architects literally design dresses, Wigley points out, their arguments for a modern architecture were taken from the logic of clothing reform. Architecture was understood as a form of dress design.Wigley follows the trajectory of this key subtext by closely reading the statements and designs of most of the protagonists, demonstrating that it renders modern architecture's relationship with the psychosexual economy of fashion much more ambiguous than the architects' endlessly repeated rejections of fashion would suggest. Indeed, Wigley asserts, the very intensity of these rejections is a symptom of how deeply they are embedded in the world of clothing. By drawing on arguments about the relationship between clothing and architecture first formulated in the middle of the nineteenth century, modern architects in fact presented a sophisticated theory of the surface, modernizing architecture by transforming the status of the surface.White Walls, Designer Dresses shows how this seemingly incidental clothing logic actually organizes the detailed design of the modern building, dictating a system of polychromy, understood as a multicolored outfit. The familiar image of modern architecture as white turns out to be the effect of a historiographical tradition that has worked hard to suppress the color of the surfaces of the buildings that it describes. Wigley analyzes this suppression in terms of the sexual logic that invariably accompanies discussions of clothing and color, recovering those sensuously colored surfaces and the extraordinary arguments about clothing that were used to defend them.

A study in the systematic policy analysis of the MIT Libraries. The study identifies two principal missions for the MIT library system: provide material for students' course work and provide material in general support of research at MIT. The problem is how to organize future library resources into a set of programs that best fulfill these objectives.

An examination of why paper continues to fill our offices and a proposal for better coordination of the paper and digital worlds.

The classic work that introduced the concept of the Garden City.Originally published in 1898 as To-Morrow: A Peaceful Path to Real Reform and reissued in 1902 under its present title, Garden Cities of To-Morrow holds a unique place in town planning literature. The book led directly to two experiments in town-founding that have had a profound influence on practical urban development around the world. The book was also responsible for the introduction of the term Garden City, and set into motion ideas that helped transform town planning.

A sourcebook of historical written texts, video documentation, and working programs that form the foundation of new media.This reader collects the texts, videos, and computer programs—many of them now almost impossible to find—that chronicle the history and form the foundation of the still-emerging field of new media. General introductions by Janet Murray and Lev Manovich, along with short introductions to each of the texts, place the works in their historical context and explain their significance. The texts were originally published between World War II—when digital computing, cybernetic feedback, and early notions of hypertext and the Internet first appeared—and the emergence of the World Wide Web—when they entered the mainstream of public life. The texts are by computer scientists, artists, architects, literary writers, interface designers, cultural critics, and individuals working across disciplines. The contributors include (chronologically) Jorge Luis Borges, Vannevar Bush, Alan Turing, Ivan Sutherland, William S. Burroughs, Ted Nelson, Italo Calvino, Marshall McLuhan, Jean Baudrillard, Nicholas Negroponte, Alan Kay, Bill Viola, Sherry Turkle, Richard Stallman, Brenda Laurel, Langdon Winner, Robert Coover, and Tim Berners-Lee. The CD accompanying the book contains examples of early games, digital art, independent literary efforts, software created at universities, and home-computer commercial software. Also on the CD is digitized video, documenting new media programs and artwork for which no operational version exists. One example is a video record of Douglas Engelbart's first presentation of the mouse, word processor, hyperlink, computer-supported cooperative work, video conferencing, and the dividing up of the screen we now call non-overlapping windows; another is documentation of Lynn Hershman's Lorna, the first interactive video art installation.

Analyzes privacy policy instruments available to contemporary industrial states, from government regulations and transnational regimes to self-regulation and privacy enhancing technologies.

How to design a world in which we rely less on stuff, and more on people.

A perceptive account of the deregulation of the electric power industry.

Detailed case studies of debt defaults by Russia, Ukraine, Pakistan, Ecuador, Moldova, and Uruguay, framed by a comprehensive discussion of the history, economic theory, legal issues, and policy lessons of sovereign debt crises.

Well-known art historians from Europe and the Americas discuss the influence of conceptualism on art since the 1970s.

Environmental regulation in the United States has succeeded, to a certain extent, in solving the problems it was designed to address; air, water, and land, are indisputably cleaner and in better condition than they would be without the environmental controls put in place since 1970. But Daniel Fiorino argues in The New Environmental Regulation that—given recent environmental, economic, and social changes—it is time for a new, more effective model of environmental problem solving. Fiorino provides a comprehensive but concise overview of U.S. environmental regulation—its history, its rationale, and its application—and offers recommendations for a more collaborative, flexible, and performance-based alternative. Traditional environmental regulation was based on the increasingly outdated assumption that environmental protection and business are irreversibly at odds. The new environmental regulation Fiorino describes is based on performance rather than on a narrow definition of compliance and uses such policy instruments as market incentives and performance measurement. It takes into consideration differences in the willingness and capabilities of different firms to meet their environmental obligations, and it encourages innovation by allowing regulated industries, especially the better performers, more flexibility in how they achieve environmental goals. Fiorino points to specific programs—including the 33/50 Program, innovative permitting, and the use of covenants as environmental policy instruments in the Netherlands—that have successfully pioneered these new strategies. By bringing together such a wide range of research and real world examples, Fiorino has created an invaluable resource for practitioners and scholars and an engaging text for environmental policy courses.

Variations on the theme of the ornament in Kracauer's urban writings, suggesting ways in which the subjective can reappropraite urban life.For Siegfried Kracauer, the urban ornament was not just an aspect of design; it was the medium through which city dwellers interpreted the metropolis itself. In Ornaments of the Metropolis, Henrik Reeh traces variations on the theme of the ornament in Kracauer's writings on urbanism, from his early journalism in Germany between the wars to his "sociobiography" of Jacques Offenbach in Paris. Kracauer (1889-1966), often associated with the Frankfurt School and the intellectual milieu of Walter Benjamin, is best known for his writings on cinema and the philosophy of history. Reeh examines Kracauer's lesser-known early work, much of it written for the trendsetting newspaper Frankfurter Zeitung in the 1920s and early 1930s, and analyzes Kracauer's continuing reflections on modern urban life, through the pivotal idea of ornament. Kracauer deciphers the subjective experience of the city by viewing fragments of the city as dynamic ornaments; an employment exchange, a day shelter for the homeless, a movie theater, and an amusement park become urban microcosms.Reeh focuses on three substantial works written by Kracauer before his emigration to the United States in 1940. In the early autobiographical novel Ginster, Written by Himself, a young architect finds aesthetic pleasure in the ornamental forms that are largely unused in the profession of the time. The collection Streets of Berlin and Elsewhere, with many essays from Kracauer's years in Berlin, documents the subjectiveness of urban life. Finally, Jacques Offenbach and the Paris of His Time shows how the superficial—in a sense, ornamental—milieu of the operetta evolved into a critical force during the Second Empire. Reeh argues that Kracauer's novel, essays, and historiography all suggest ways in which the subjective can reappropriate urban life. The book also includes a series of photographs by the author that reflect the ornamental experience of the metropolis in Paris, Frankfurt, and other cities.

Experts discuss moving beyond the notion of electronic government and its focus on technology and efficiency to a broader concept of "information government" that incorporates the role of information flows within government, between government and citizens, and among citizens themselves.

This analysis of how the ability to participate in society online affects political and economic opportunity finds that technology use matters in wages and income and civic participation and voting.

Energy in Nature and Society is a systematic and exhaustive analysis of all the major energy sources, storages, flows, and conversions that have shaped the evolution of the biosphere and civilization. Vaclav Smil uses fundamental unifying metrics (most notably for power density and energy intensity) to provide an integrated framework for analyzing all segments of energetics (the study of energy flows and their transformations). The book explores not only planetary energetics (such as solar radiation and geomorphic processes) and bioenergetics (photosynthesis, for example) but also human energetics (such as metabolism and thermoregulation), tracing them from hunter-gatherer and agricultural societies through modern-day industrial civilization. Included are chapters on heterotrophic conversions, traditional agriculture, preindustrial complexification, fossil fuels, fossil-fueled civilization, the energetics of food, and the implications of energetics for the environment. The book concludes with an examination of general patterns, trends, and socioeconomic considerations of energy use today, looking at correlations between energy and value, energy and the economy, energy and quality of life, and energy futures. Throughout the book, Smil chooses to emphasize the complexities and peculiarities of the real world, and the counterintuitive outcomes of many of its processes, over abstract models. Energy in Nature and Society provides a unique, comprehensive, single-volume analysis and reference source on all important energy matters, from natural to industrial energy flows, from fuels to food, from the Earth's formation to possible energy futures, and can serve as a text for courses in energy studies, global ecology, earth systems science, biology, and chemistry. Vaclav Smil is Distinguished Professor at the University of Manitoba and the author of many books, including Energy at the Crossroads (2003), The Earth's Biosphere: Evolution, Dynamics, and Change (2002), and Energies: An Illustrated Guide to the Biosphere and Civilization (1998), all of which are published by The MIT Press.

Sunk Costs and Market Structure bridges the gap between the new generation of game theoretic models that has dominated the industrial organization literature over the past ten years and the traditional empirical agenda of the subject as embodied in the structure-conduct-performance paradigm developed by Joe S. Bain and his successors.

Harnessing the power of software platforms: what executives and entrepreneurs must know about how to use this technology to transform industries and how to develop the strategies that will create value and drive profits.

A vision of architecture that transcends concerns of form and function and finds the connections between the architect's wish to design a beautiful world and architecture's imperative to provide a better place for society.The forced polarity between form and function in considerations of architecture—opposing art to social interests, ethics to poetic expression—obscures the deep connections between ethical and poetical values in architectural tradition. Architecture has been, and must continue to be, writes Alberto Pérez-Gómez, built upon love. Modernity has rightly rejected past architectural excesses, but, Pérez-Gómez argues, the materialistic and technological alternatives it proposes do not answer satisfactorily the complex desire that defines humanity. True architecture is concerned with far more than fashionable form, affordable homes, and sustainable development; it responds to a desire for an eloquent place to dwell—one that lovingly provides a sense of order resonant with our dreams. In Built upon Love Pérez-Gómez uncovers the relationship between love and architecture in order to find the points of contact between poetics and ethics—between the architect's wish to design a beautiful world and architecture's imperative to provide a better place for society.Eros, as first imagined by the early lyric poets of classical Greece, is the invisible force at the root of our capacity to create and comprehend the poetic image. Pérez-Gómez examines the nature of architectural form in the light of eros, seduction, and the tradition of the poetic image in Western architecture. He charts the ethical dimension of architecture, tracing the connections between philia—the love of friends that entails mutual responsibility among equals—and architectural program. He explores the position of architecture at the limits of language and discusses the analogical language of philia in modernist architectural theory. Finally, he uncovers connections between ethics and poetics, describing a contemporary practice of architecture under the sign of love, incorporating both eros and philia.

The distinctive and amazing songs and calls of birds: a meditation and a lexicon."A miraculous little book: a compressed encyclopedia of our fascination with avifauna.”—The Nation"A charming, funny, and eccentric book.”—Times Literary Supplement"An elegant tribute to the beauty of its subject.”—Los Angeles TimesBirds sing and call, sometimes in complex and beautiful arrangements of notes, sometimes in one-line repetitions that resemble a ringtone more than a symphony. Listening, we are stirred, transported, and even envious of birds' ability to produce what Shelley called "profuse strains of unpremeditated art.” And for hundreds of years, we have tried to write down what we hear when birds sing. Poets have put birdsong in verse (Thomas Nashe: "Cuckoo, jug-jug, pu-we, to-witta-woo”) and ornithologists have transcribed bird sounds more methodically. Drawing on this history of bird writing, in Aaaaw to Zzzzzd John Bevis offers a lexicon of the words of birds. For tourists in Birdland, there could be no more charming phrasebook. Consulting it, we find seven distinct variations of "hoo” attributed to seven different species of owls, from a simple hoo to the more ambitious hoo hoo hoo-hoo, ho hoo hoo-hoo; the understated cheet of the tree swallow; the resonant kreeaaaaaaaaaaar of the Swainson's hawk; the modest peep peep peep of the meadow pipit. We learn that some people hear the Baltimore oriole saying "here, here, come right here, dear” and the yellowhammer saying "a little bit of bread and no cheese.” Bevis, a poet, frames his lexicons—one for North America and one for Britain and northern Europe—with an evocative appreciation of birds, birdsong, and human attempts to capture the words of birds in music and poetry. He also offers an engaging account of other methods of documenting birdsong—field recording, graphic notation, and mechanical devices including duck calls and the serinette, an instrument used to teach song tunes to songbirds. The singing of birds is nature at its most sublime, and words are our medium for expressing this sublimity. Aaaaw to Zzzzzd belongs in the bird lover's backpack and on the word lover's bedside table, an unexpected and sui generis pleasure.

The first major American publication on this important contemporary sculptor.Anish Kapoor is one of a highly inventive generation of sculptors who emerged in London in the early 1980s. Since then he has created a remarkable body of work that blends a modernist sense of pure materiality with a fascination for the manipulation of form and the perception of space. This book—the first major American publication on Kapoor's work—surveys his work since 1979, with a focus on sculptures and installations made since the early 1990s. With more than ninety color images of these ambitious and complex works, three original essays, an extended interview with Kapoor, and selections from his sketchbooks, this book confirms Anish Kapoor's place as one of the most remarkable sculptors working today. Kapoor's work has evolved into an abstract and perceptually complex elaboration of the sculptural object as at once monumental and evanescent, physical and ethereal—as in his famous Cloud Gate (2004) in Chicago's Millennium Park. The works in Anish Kapoor include such striking works as Past, Present, Future (2006), 1000 Names (1979-1980) and When I Am Pregnant (1992). This book, which accompanies an exhibition at Boston's Institute of Contemporary Art, offers American readers a long-overdue opportunity to consider the extraordinary clarity, subtlety, and power of Kapoor's art.

Top experts in the field discuss how to improve the effectiveness of foreign aid, proposing practical solutions to specific problems rather than a utopian master plan.